Tag: Catherine Opie

  • Kink, Protest, and Bearing Witness: A Conversation with Catherine Opie | AnOther

    The American art photographer speaks to Amelia Abraham about her new book, “no kink at Pride”, and her latest work
  • The World’s Great Photographers, Many Stuck Inside, Have Snapped – The New York Times

    Stephen Shore, Catherine Opie, Todd Hido and others have turned to Instagram to cure ‘corona claustrophobia’ or show how life has changed. They talk about their quarantine pics.
  • 12 Photographers on How They Conceptualize Their Work

    [contentcards url=“https://aperture.org/blog/12-photographers-concept-photowork/”]

    12 Photographers on How They Conceptualize Their Work

    Over the course of her career, curator and lecturer Sasha Wolf has heard countless young photographers say they often feel adrift in their own practices, wondering if they are doing it the “right” way. She was inspired to seek insight from a wide range of photographers about their approaches to making photographs, and, more important, a sustained body of work. Their responses are compiled in PhotoWork: Forty Photographers on Process and Practice. Below, twelve artists respond to the first question in the interview series:

  • 2019 Guggenheim Fellowships Awarded to 12 Photographers | PDNPulse

    [contentcards url=”https://pdnpulse.pdnonline.com/2019/04/2019-guggenheim-fellowships-photographers.html”]

    2019 Guggenheim Fellowships Awarded to 12 Photographers | PDNPulse

    Catherine Opie, Ron Jude, Jennifer Garza-Cuen and Barbara Davidson are among the 12 photographers named 2019 Guggenheim Fellows, according to an announcement from the John Simon Guggenheim Memorial Foundation. The fellowships provide grants of undisclosed amounts to support projects by artists, scholars, scientists and writers. The foundation selected 168 fellows this year from a pool of more than 3,000 applicants. This year’s fellows in photography are:

  • Catherine Opie, All-American Subversive – The New Yorker

    Catherine Opie, All-American Subversive

    Her photographs range from the marginal to the mainstream, capturing things that are invisible to the rest of us.

  • TIME’s Best of 2011: The Photobooks We Loved


    Here LightBox spotlights some of the best photobooks of the year as chosen by a group of photographers and photography experts from around around the world…. and of course a few from the photo editors of TIME.  From the selection one can see the art of the photobook continues to flourish in all genres from reportage to fine art photography, fashion and everything in between. This year’s books range from luxurious tomes like Catherine Opie and Alec Soth’s collaboration for Rodarte to smaller precious books like Fred Hunning’s Drei. Overall the selection shows that even as masses of information come at us from all our digital devices, people still enjoy a singular vision and the process of sitting down with a good book—especially one that pushes the boundaries of the format. Herewith, the photobooks we loved the most in 2011

  • l e n s c r a t c h: John Baldessari and Catherine Opie


    One of the best magazine articles I’ve ever read was in Esquire and it was about how to fry an egg. I never cease to think about that humorous and descriptive article when I pull out a small cast iron pan to make breakfast. And that article reminds me how I feel about John Baldessari. His work has resonated with me since I discovered it in art school, and it’s his ability to make simple and humorous ideas into something more significant and resonate, that serves him so well.

    Link: l e n s c r a t c h: John Baldessari and Catherine Opie
  • Last Chance – Ryan McGinley at Team, and Catherine Opie at Gladstone

    While putting together the catalog that accompanies his current show at Team Gallery, Ryan McGinley asked another photographer, Catherine Opie, if she would interview him. In some ways it was a strange choice. Ms. Opie, 49, is best known for studio portraits that are as static and deliberate as the 32-year-old Mr. McGinley’s photographs are hyperkinetic. And while both artists explore queer identity, they’re separated by gender, geography and nearly a generation.

    Link: Last Chance – Ryan McGinley at Team, and Catherine Opie at Gladstone – Review – NYTimes.com